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The Playlist

The Best Films Of 2014 So Far...

  • By The Playlist Staff
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  • June 3, 2014 12:05 PM
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Best of 2014, midway
Here's a bold statement: 2014 is looking like a pretty damn good year for movies so far. We've had a few strong ones in a row (2011, 2012 and 2013 were all overflowing with goodness), but a little less than halfway through this year, and the discerning moviegoer has been spoiled with choices. Of course, there's been a lot of swill, but from the blockbuster to tiny foreign indies, there's been plenty worth checking out.

In Theaters: 'I Am Number Four,' 'Unknown,' 'Big Mommas,' 'Putty Hill'

  • By Katie Walsh
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  • February 18, 2011 5:39 AM
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Another Friday brings us another blockbuster, this one aimed squarely at the fluttering innards of tweenish types everywhere. And for the dads that drop them off at the theater, Mr. Neeson kicking ass, and for the true masochists, a new entry in the Granny Drag cannon. Of course, if you so choose, there are some interesting offerings in the mix, if pretty aliens and badass Neeson and Martin Lawrence don't entice you. Opening in wide release, Alex Pettyfer hopes to earn his diva behavior with "I Am Number Four," Liam Neeson stars in the reverse-amnesia vehicle "Unknown," and there's an unasked for sequel in the "Big Momma's House" franchise. In limited release, we've got some interesting stuff, including narrative/doc hybrid "Putty Hill," Gael Garcia Bernal in "Even the Rain," and Mexican cannibal flick "We Are What We Are." Let's begin, shall we?

Review: 'Zero Bridge' Goes For Realism But Ends Up With Stiffness

  • By Christopher Bell
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  • February 18, 2011 3:09 AM
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  • 1 Comment
It's always nice when filmmakers are open to collaboration. This teamwork isn't (and shouldn't) be limited to the actors, but their general environment as well. It takes an exceptional kind of artist to make these loose partnerships flourish, as a project could quickly become detached or too self-indulgent without the proper wrangling. Still, knowing that any sort of director is diving headfirst into a visually-rich area, planning to shoot guerilla style and working with non-actors to create something distinctive is pretty damn exciting. Tariq Tapa's arsenal had plenty of useful tools to make an incredible indie: a unique-looking cast of unprofessionals, decent video equipment, a simple improv-ready ten page outline, and the setting of the war-torn India-controlled Kashmir. Unfortunately, instead of resembling the works of the topically-fueled Nagisa Oshima ("Sing A Song Of Sex" was devised around national protests) or improv-heavy John Cassavettes, Tapa's much more grounded "Zero Bridge" has more in common with America's micro-indies, for better or worse.

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